Set this up so that your audience can see her eyes.
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Announce that you will now show that you can use classical conditioning to make the volunteer blink her eyes in response to the whistle. First, show that she will not blink when you blow the whistle alone but don't blow on the puff maker yet. Then start the conditioning phase. Squeeze the puff maker while you blow the whistle. Make sure that you aim directly for her eyes each time.
Pair the whistle with the air puff about five or six times. On the next trial, just blow the whistle. Have the observers verify that she blinked, and then take your bows and applause! The classical conditioning effect is fairly reliable but you're covering your bets by creating the expectation that you will get a successful result. I prefer using a female volunteer because I find that they don't seem to resist the urge to blink quite as much as my male volunteers have in the past. If you're using this as a class demonstration, you can then ask your students to review the relevant concepts by asking them to name the unconditioned stimulus air puff , the conditioned stimulus whistle , the unconditioned response eye blink and the conditioned response also the eye blink!
Announce that you will now train a volunteer to do whatever it is you want without providing any instructions or directions. The behavior you will train in the volunteer should involve something silly but "clean" no X-ratings here! Decide ahead of time what the behavior will be and have a prop ready.
My favorite examples involve umbrellas, hula hoops, bicycles, or funny hats but almost anything will work. Whatever you choose, have the object sitting unobtrusively in the room so that it doesn't draw suspicion.
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Select a volunteer in class I usually ask a male and ask him to step outside of the room. When he is out of earshot, tell the audience that they are going to use shaping to get him to perform the desired behavior, whether it's riding the bicycle or opening the umbrella and dancing in a circle while holding it over his head.
They will do this by clapping as he gets closer to each desire step in a sequence. First, he will have to look at the bicycle. Then he will have to walk over to it, and so on, until he actually rides the bicycle across the stage.
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The audience should look at you so that you can cue them when to start and stop clapping-i. Invite the volunteer back into the room, and have him stand in one spot. Tell him what you'll be doing but nothing more, just that he is supposed to guess what you want him to do. He may need a little guidance but only use hand gestures if the clapping doesn't work at first.http://mail.experiencetheleap.com/tecnicas-y-recetas-bsicas-para-aprender-reposteria.php
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Eventually he'll realize what you want him to do and will perform the behavior, much to everyone's amusement. This trick is based on the principle of shaping, the method developed by B. Skinner to train complex behaviors in lab animals. If the trick works properly, you may also be able to demonstrate what he called "superstitious conditioning" in which the volunteer adds a behavior that produced clapping but isn't the one you want him to guess. For this trick, you will prove that although most people can't remember more than 5 or 9 letters, your volunteer will be able to remember Stop and point out that the volunteer couldn't remember 10 numbers but now you'll show that the volunteer can remember If the volunteer doesn't, someone from the audience will definitely be able to shout it out.
The principle behind this trick is that of memory chunking. By taking large units of information and putting them into chunks of information between 5 and 9 items, we can expand our memories far beyond our brain's limits. I owe this trick to my colleague, Thomas Pusateri, for showing me this trick. It has never failed to amaze! Presto, change-o, have I now converted you to a psychological magician?
You may not want to quit your day job, unless your day job is as a psychologist, but you can definitely have some fun with these simple demonstrations. Whitbourne, S. Instructor's manual for Feldman's Understanding Psychology. New York: McGraw-Hill. I highly recommend a book called Sleights of Mind, which details how neuroscientists are working with magicians to understand more about how the brain works. Owe nice Magic and Lot of Thanks.
Learnt good magic tricks from here.
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Before visiting here in visited Magic Tricks. If you are willing to learn new tricks do visit once. Susan Krauss Whitbourne, Ph.
Her latest book is The Search for Fulfillment. Back Psychology Today. Back Find a Therapist. Back Get Help. Back Magazine. The Power of Boundaries Sharing personal information brings people closer together. Subscribe Issue Archive. Back Today. How Do You Respond to a Compliment? Does Music Impair Creativity? Fake News and the Illusory Truth Effect. Susan Krauss Whitbourne Ph.
Have you tried using Submitted by Brian Swanson on January 30, - am. Have you tried using iPhone for magic? Pretty cool really! Magic and the mind Submitted by James Pritchard on April 3, - am. Those are some interesting examples of magic and psychology. China magic Submitted by Anonymous on June 17, - am.
Phycology Submitted by Rj on June 6, - pm. Learnt good magic tricks from Submitted by Alex pandrea on December 18, - am. Post Comment Your name. E-mail The content of this field is kept private and will not be shown publicly. Notify me when new comments are posted. Magicians use strategies that make people lose concentration, at which stage they blink more often and miss some revealing gestures that could explain the magic act. A classical trick consists of making an object disappear in thin air, such as the vanishing ball illusion. For the vanishing ball trick, magicians throw a ball in the air for a couple of times, and the third time they just pretend to toss up the ball in the air.
In fact, the ball is concealed in their hand, even if the audience thinks they have seen the ball being thrown in the air for the third time — this is what their mind was expecting. What they are seeing is a ghost ball because people see what they believe is going to happen rather than the actual events. Another moment when the audience is paying less attention is at the end of an illusion, because people are laughing or clapping.
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